Wednesday, February 17, 2016

matt weston -skate for the lie (tape, tape drift records)

a-side a whopper of squealing and high-volume startle cymbal scraping feedback. metallic dissonance-shimmer in freaked-out surprise settlement. where the plain dying silence gets filled by concrete what's-this. then later, once the broken outer space glut of highest ratio to damage kicks up, in elephantine moan, the plugs blow into an acidic rock, minus the rock, take the kit apart and take out all the pieces and lay them on the ground and kick the ones that mean the most. kick them down the stairs of backwards-rock-roll, 'cause it's rolling now.

the dedication is pranking the haphazard technique, the playing is sound-art and flipping out. drums doing more than drum things. guitars and other shit are ripping into jams like paint spillage, the colours are way beyond the mixing stage.

noise on noise, like snow on snow, until a bass-mining descending pattern melts it into rhythmic crawling punctuation.

b-side a monster that starts at off-jazz or what could be structuralism, then drops deep heaviest into scorching noise space-spazz, guttural whooping wails through guitar pounce timing, hiding and not hiding that purer acid rock meltdown again in a gear fry-up foray. amazing jam and when the chords are breaking up in over-gain output, that brittle and blown-out go-with-the-flow heaves it into a reddened-mud heap of sonic fuck-yes. now the chimes of overtone work their magic against the lower-fidelities, twisting out of down-strum kingdom-for-a-buck into what's too-angular to be funk (but is) rock, rambling off into another freaked concoction, led by maniac drum-play.

and i went back through a couple of times (have to with this jammer). this guy's serious and has a creatural art.